In the creative heart of East Sussex, where young voices are finding confidence and imagination is given room to flourish, Emma Burnett has become a quietly influential force. As the driving energy behind Mad Fish Performing Arts, she has helped shape a generation of performers, nurturing not just talent but self-belief. Rye News showcased one of her student’s successes recently on Britain’s Got Talent.
Her new book, Shoot for the Moon: A Journal, distils that experience into an accessible and inspiring guide. It is a practical yet uplifting companion for aspiring performers, supportive families and dedicated teachers alike.
What parents are saying about Shoot for the Moon
Holly, the mother of one of Emma’s students, wrote this, “I bought Emma Burnett’s Shoot for the Moon for my daughter who is a student of Emma’s. Knowing what an incredible and experienced teacher Emma is, I knew my daughter would love it and that it would be packed with unparalleled industry knowledge and wisdom. I wasn’t wrong but what I didn’t realise was how helpful it would be to me too! As a parent of a musical theatre kid, a lot of my time it spent supporting my daughter in her passion and this requires a lot of planning and organisation.
“The trouble is, sometimes life gets in the way, but this book has proved to be invaluable in keeping me on track. I reach for it most weeks and I’ve yet to find a question it doesn’t have the answer to. There’s advice on how to prep for exams, a directory of musical theatre song grades, guidance on vocal health, information about agents and other industry matters that I would struggle to find elsewhere. It’s like having a performing arts teacher in your pocket, but easier to carry around!“
Laura, another parent, wrote, “Shoot for the Moon is a wonderful, interactive book that supports parents, teachers and young people who are involved in the performing arts world. As a parent of a performing arts student, it has been invaluable, giving helpful hints and advice as we navigate our journey. My daughter loves the interactive element and the quotes that can be found throughout the book reinforce the messages she has grown up hearing. An excellent read for everyone!”
Emma reflects on the journey behind the book, her approach to teaching and why creativity remains one of the most powerful tools for personal growth
Tell our readers about where and when you got involved with performing arts.
I started performing as a teenager, travelling to London at weekends to train at the Sylvia Young Theatre School. By my mid-teens I was already working backstage at the Yvonne Arnaud Theatre in Guildford and completely fell in love with theatre life—I didn’t mind what I was doing as long as I was part of it.
I went on to study Drama, Dance and Film at A Level, then focused on singing at the London College of Music, training in opera and musical theatre. From there I worked and trained on The Knack at ENO and left to take a job with the D’Oyly Carte Opera Company, before going on to perform with a range of productions.
I began teaching 28 years ago when a friend asked me to cover a class, created my company and I’ve never looked back.
What inspired you to write Shoot for the Moon: A Journal, and why did now feel like the right moment to share your approach more widely?
I feel it’s the book I wanted and needed when I was young and new to the world of performing. I loved the idea of a book which gave you all the information you needed but also something that inspired and encouraged people, a place to doodle and journal but most of all to encourage performers to keep going and follow their dreams. We all need a boost and a daily reminder to believe in ourselves and our dreams.
I feel that there isn’t another book out there like it, and over time my ideas kept building until it felt right to put them all in one place. I also wanted to reach beyond my local teaching and support performers who might need the same encouragement right now.
You speak about performing as a “big journey”, what are some of the key emotional or practical challenges you see young performers facing today?
Performing has changed a lot in the last 30 years. Young performers not only need to learn their craft they also need to navigate the world of social media, which brings huge challenges.
It’s already a highly emotive industry—performers compare themselves to others and face rejection and criticism—but now that pressure is amplified by constant visibility. The field is saturated with talent, and simply trying to be seen, noticed, and promote yourself, while staying motivated and on track, is no small task.
With social media driving so much of the industry, both on stage and on screen, there’s now an added pressure to create content constantly. That’s difficult when you’re still trying to develop your skills. There’s also a growing expectation to have a strong personal identity, and early on performers are often judged as much on their online presence as their talent.
Emotionally, that creates a real tension. As performers, we need to be open and vulnerable, yet at the same time resilient enough to handle criticism and setbacks. Younger performers can sometimes struggle with that balance, particularly in a world that encourages quick results and constant comparison. It can also impact focus, at a time when learning material, staying disciplined and multitasking are essential.
It’s a long journey and learning how to navigate these challenges is just as important as developing the talent itself.
In your experience, how important is the role of families and teachers in supporting that journey?
Performers need a sense of normality. I often talk about the difference between being famous and being successful—my focus is on those who truly live and breathe their craft, and who work and train hard to achieve their goals.
From an early stage, the support of families and teachers is vital. Performers need to feel encouraged rather than judged, and to be surrounded by guidance that offers a broad range of ideas and knowledge. This gives them the freedom to develop their own voice, rather than feeling boxed in or pressured to imitate others. True success lies in authenticity.
Equally important is having a core group of friends and loved ones who can lift you up during moments of discouragement or disappointment.
The book emphasises encouragement, discipline and self-expression. How would you describe your teaching philosophy and why is it so successful?
I believe that having been a professional performer gives you a real advantage as a teacher—you’ve truly been in your students’ shoes, from training right through to performing on stage. You understand first-hand what it feels like to be a singer, along with the challenges that come with it, both professionally and personally. The level of discipline and hard work required is similar to that of an athlete, and it should never be taken lightly.
At the core of my teaching philosophy is the belief that teaching must come from passion, not simply as a way to get by—the difference is always clear. Every student who walks through the door is on their own unique journey, so a one-size-fits-all approach simply doesn’t work. Each individual needs something different in that moment.
Creating an environment where students feel safe, supported and comfortable is essential. From there, you can push them to explore their boundaries, challenge themselves and ultimately become the very best version of who they are.
Self-expression is one of the most powerful things a person can develop, and the skills it builds extend far beyond performance into all areas of life.
What do you believe makes a student truly flourish? Is it talent, mindset, environment, or something else?
I believe it’s a combination of many things. Talent is certainly important—it provides the foundation and gives a performer the potential to grow—but on its own, it’s not enough.
What truly allows a student to flourish is mindset. A creative, curious thinker with a strong work ethic and a genuine passion to improve will always go further. It’s about being willing to question, to explore and to keep developing.
Alongside this, there’s something harder to define—that unique spark performers bring in moments of complete authenticity in front of an audience. That sense of individuality is what makes someone truly stand out.
Talent may open the door, but mindset, discipline and individuality are what allow a student to truly flourish.
You write that creativity is a “natural instinct”. How do you nurture that instinct in children who may lack confidence?
Creativity is a natural instinct in every child, but confidence determines whether they feel able to express it. In my work teaching acting, singing and dance, I nurture that instinct by first creating a safe, supportive environment where there’s no fear of getting things “wrong”. I introduce low-pressure, playful activities—like group improvisation or movement-based storytelling—so children can explore without feeling exposed. I place a strong emphasis on celebrating effort, imagination and bravery rather than perfection, which encourages them to take creative risks. As a teacher I join in a lot when they are little so they can see even the adults being silly and being creative too, they take this as a lead that it’s ok to do this.
Just as importantly, I give children ownership over their ideas, I try to build their belief that it’s ok to take creative risks and to trust themselves. I encourage them to make choices and see those ideas valued and brought to life. Over time, this builds confidence, and once that confidence grows, their creativity naturally follows.
In what ways can singing, acting, and performance help young people better understand themselves?
Singing, acting and performance are all highly creative disciplines, but their value goes far beyond creativity alone. Not only do they provide an outlet for imagination to grow, they also create a safe space for young people to explore and understand their emotions. Through acting, children step into different characters and perspectives, which helps them develop empathy and reflect on their own thoughts and feelings. Singing allows them to connect emotionally with lyrics and express feelings they may not yet have the words for, while dance and movement give them a physical way to release and communicate emotion.
In my experience teaching these disciplines, I’ve seen how performance encourages self-awareness—children begin to recognise what they feel, how they express it and how they relate to others. It also builds confidence and a sense of identity, as they learn that their voice, ideas and interpretations are valid. Over time, this process helps young people not only grow creatively but also gain a deeper understanding of who they are.
I’ve often had parents say to me, “My child wouldn’t speak to anyone outside the family” or “My child is now so much more confident at school and talking to her peers and teachers.” It’s a wonderful thing to hear.
We hear wonderful stories about the success of your students: what do you believe sets them apart?
I think it’s a mindset and a skill set they develop. We teach them to be open to learning, flexible, take risks. We try to instil bravery and resilience. We also teach them that performing is a collaboration and that they need to bring a positivity to every situation.
I strongly believe in individuality and that they need to trust their own instincts and bring some of themselves to their work. If they combine authenticity with genuine love for their work and consistency, then they will stand out. A self-belief and a quiet confidence that carries them forward in everything that they do.
For those just starting out, what is the one piece of advice you would offer?
Dream big and believe in yourself!
Image Credits: Holly Pearce , fizzyrobot .